The Monster star will portray lead character Libby Day in the film, which chronicles one woman's efforts to bring her brother to justice after he is accused of killing their sisters and mother in a cult ritual.
The film adaptation of author Gillian Flynn's book will be French director Gilles Paquet-Brenner's first American movie. It will be co-produced by Theron's film company Denvery & Delilah, according to The Hollywood Reporter.
Dark Places became a big hit upon its release in 2009, remaining on the New York Times Bestseller List for more than 25 weeks.
First Reese Witherspoon and now, quite possibly, Charlize Theron. Author Gillian Flynn not only knows how to get readers hooked with her books, she attracts A-list stars to their big screen adaptations.
The Oscar-winning Witherspoon is on board to produce (and perhaps star in) the movie version of Flynn's talked-about bestseller Gone Girl (David Fincher is set to adapt the dark nail-biter), and now, according to Deadline, the Oscar-winning Theron is the name attached to the big screen adaption of Flynn's other talked-about bestseller Dark Places. (Hollywood.com reached out to Theron's reps for a response to the report, but they could not be immediately reached for contact.)
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While the project originally had Amy Adams on board, Theron is now a strong contender for the part. And what a part it is. In the film, Theron would play the story's protagonist Libby, a woman who, as a child, witnessed the murder of her mother and sisters by what's thought to be a cult. Years after testifying against her brother in court for the crime, Libby, who has since become a hardened recluse, crosses paths with the Kill Club, a secret group dedicated to solving grisly mysteries and crimes. Libby then must recall, through a series of flashbacks, the horrific murders and begin to piece it all back together. Like we said, it's quite a role, not to mention one Theron is more than suited for, considering what she's done with darker material before. (See: The Road, Young Adult, Monster, In the Valley of Elah.)
RELATED: David Fincher to Adapt 'Gone Girl', Because This Guy Loves Dark Bestsellers About Killing.
Dark Places, which has Gilles Paquet-Brenner (Sarah’s Key, Pretty Things) attached as a director, is reportedly looking for a March 2013 start date. In the meantime, Theron's next project Mad Max: Fury Road, doesn't hit theaters until 2014.
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[Photo credit: WENN]
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As Jason Segel once sang, "Life is a happy song." That's a certainty. Of course, murder can sort of put a strain on that mentality. Segel's The Muppets costar, Amy Adams (who, among a cast of beloved bug-eyed puppets, was quite possibly the most adorable character onscreen) is taking up with a particularly severe new project: Dark Places, written and directed by Gilles Paquet-Brenner from the novel by Gillian Flynn.
The story will center on Adam's character, who, in childhood, lost her parents to a brutal murder... one that was eventually pinned on her brother, after she testified against him in court. The movie will pick up when a full-grown Adams begins to have doubts about the verdict after a secret society of de facto investigators takes a look at her case, bent on proving that there is more than meets the eye.
From her attachment to this group, Adam's character's starts to question whether her brother may well have been wrongfully imprisoned and abandoned by his only remaining family member after suffering through the horrendous slaughter of his own parents.
[Photo Credit: David Edwards/Daily Celeb]
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Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.